The fantastic Kamau Patton is the most recent artist to take up residence in the upstairs gallery Yerba Buena has dedicated to their PAUSE exhibitions, the Center's new series that puts the emphasis on process rather than result and encourages artists to collaborate both with each other and with the audience itself. For his show Icons of Attention Patton has filled the room with an ambient soundtrack that shifts from discordant noise to ethereal song, augmented by the sounds made by visitors on a number of musical instruments cleverly disguised as modern art. Everything has a contact mic attached to it, so as you rattle a piece of sheet metal or bang on a wooden ring or even just tap your foot on the floor the noise is magnified exponentially, and then all of this is broadcast out from a low-power transmitter so that radio listeners without a two-mile radius of the gallery can hear too. When I was there on Saturday Patton was also projecting a giant sun on one wall reminiscent of Olafur Eliasson's project for Tate Modern's Turbine Hall especially in how it created a visual point of focus in the room. I timed my visit to coincide with a live workshop with Patton and Josh Clayton, who closed the doors to the gallery and led our small assembly in a very loosely guided improvisation. I purposefully let go of my customary fear of participation for a couple hours and watched what happened when other people did the same. I met and shook hands with strangers, made music with them, heard a woman sing in my ear just for me, listened to passages read from Ulysses, wandered around the room howling like a sick dog, occasionally felt awkward and acutely self-conscious, laughed a lot. I surprised myself with how much fun I had, probably because in these technology-infused days even a little bit of intentional human contact can feel like a radical form of expression.